Frisson Ensemble's Faure Trio Performance

ROMANTIC FERVOR IN FRISSON ENSEMBLE'S RAC CONCERT

New York’s Frisson Ensemble mounted an eclectic program at the Redwood Arts Council’s Jan. 22 concert that was long on informality and high on convincing artistry. Eighty attended in the Occidental Center for the Arts.

Britten’s Phantasy Quartet from 1933 opened the formal program featuring oboist Thomas Gallant in an aggressive performance with cellist Julian Schwarz and an unidentified violist and violinist. There were limited performer IDs in the program or on the Ensemble’s website.

Be that as it may, the bright oboe part over 14 minutes didn’t interleave with the strings but floated above, with many short fragments and odd periods of silence for the solo instrument. Mr. Schwarz’ ardent cello line dominated the violinist’s sound, something that alas was to continue all evening.

A program highlight was Fauré’s D Minor Piano Trio (Op. 120) that closed the first half. The composer’s signature arpeggios were heard throughout, as well as his late career saturated harmonies and warm romantic thematic development and subtle modulations. This is radiant and elegant music, autumnal at times, and was played reverently. It soared in a subdued way, building to several climaxes that were never severe.

The house piano, not at a professional level but vastly better than the tired instrument it recently replaced, has a “wet” (non Yamaha Steinway Bösendorfer) sound perfectly suited to this music, and pianist Marika Bournaki played with a refined sensibility. Inner voices were on display.

Featured in the second half was Schumann’s radiant E Flat Piano Quartet, Op. 47, from 1844. The work was a welcome change from the more popular Quintet in the same key with its endless thematic repetition and dominating piano part. Here the Frisson’s performance gave solo prominence to Mr. Schwarz and his wide vibrato, and the violist’s part. This is “heart on sleave” music, especially in the grand Andante Cantabile movement with a lovely unison violin-viola-piano phrases and at times over-the-top fervor. Can there be too much lyrical playing in a piece like this, in just under a timeless 29 minutes? The Frisson trio captured the manifold beauties of Schumann’s ardent musical emotions.

Two lyrical Grant Still works preceded the Schumann, Incantation and Dance, for piano and oboe, and passed without much notice.

At the beginning a programmed Korngold work was omitted for a surprise appearance of the Santa Rosa Symphony’s Young People’s Chamber Orchestra – 14 apprentice string players led by Sonoma State University violinist Arron Westman. They had been having classes with Frisson and performed two short works that had the character of “Darling Clementine” and a sprightly Virginia Reel.